Q&A: Adolfina De Stefani on MOVE W I T H (OUT)#4 Venice

MOVE W I TH (OUT) traveled to Italy during the final weekend of the Venice Biennale and visited the 3D Gallery in Mestre and the Officina delle Zattere in Venice. At both spaces, two live art interventions, collectively titled “Play in Two Acts – The Justice” were presented in conjunction with the trunk project. The second performance took place at the Officina delle Zattere, and was devised and performed by Adolfina De Stefani. Here, the artist, who is herself a curator and gallery director, shares with us her reflections on the project.

Something Human: From our discussions, the project MOVE W I T H (OUT) caught your attention from the start. In what ways, do themes such as travel, migration and crossing boundaries relate with your artistic and curatorial practice?

Adolfina De Stefani: I have been interested in the phenomenon of migration for several years. I do think the current state of Italian politics is certainly not helping countries that suffer from wars, famine and violence. This raises the question: how can an individual contribute? Feeling powerless, art remains my only medium of expression and communication.

Something Human:The two performances presented in Venice were inspired by ‘the Lapedusa Shipwreck’ news report*, which had a great impact on Italian public opinion. These two live art interventions were critical towards the Italian authorities’ delayed response to offer rescue. Could you please tell us more about your perspective?

Adolfina De Stefani: It was not just a matter of delay. It was a matter of refusal – an utter lack of respect and sensitivity towards the situation. There are different reasons behind what happened, however letting hundreds of people die just because nobody wanted them in this country…It’s just despicable! Italy is always ready to send its soldiers to fight abroad in order to bring ‘peace’, but the real truth of these missions is hidden within political agendas protecting other types of interests; interests that are not always apparent. I love my COUNTRY and I would like for other citizens to be able to love their own COUNTRIES the same way without being forced to emigrate due to violence they face daily. Human beings should learn to know themselves and stop coveting, because of their arrogance, other people’s bread.

Something Human:Both live art performances provoked strong responses from the audience. Did you expect this? Generally speaking, how mindful are you of audience reaction when you create work?

Adolfina De Stefani: It’s always tricky to predict how an audience would respond when making work. Personally, and I think in the case of the 3D Gallery, our audience is familiar with the themes in our artists’ work. Our focus on the performative approach has always differentiated the gallery from others in Venice, our audience has been interested in encountering live art. Also, I believe that performances can provide a period of meditation that is also an opportunity for sharing. This allows for meetings, exchanges and strong emotions, which happened with the two installments of live art at MOVE W I T H (OUT).

Something Human:You were both curator and artist in this project. What was it like playing both roles? How did one perspective relate to the other?

Adolfina De Stefani: I don’t see myself much as a ‘CURATOR’ and I am a little confused as an artist. But I do think that working from both perspectives can yield better results with the relationships with audience and the artists. I think I am very responsive toward artists’ needs because it is easy for me to understand their points of view. The relationship becomes an exchange of ideas, emotions and rewards. A sense of aesthetic is also important to me, and this makes the artists feel understood, which often leads to positive results as it becomes a ‘giving and taking’ relationship – an exchange that is a positive experience.

Something Human: The first performance took place at the 3D Gallery in Mestre, where you are the director. How did you decide to have an art space in Mestre instead of Venice? How do you see the role of the 3D Gallery in the Venetian art environment?

Adolfina De Stefani: It wasn’t a choice, it just happened. I like the possibility of using an available space to show art not only from my own practice but also that opportunities can be provided for artists who have not entered the commercial gallery scene, sometimes because of their personal motivations, but more often than not, because they are excluded. This again raises the notion of “border” – as in between artists and commercial galleries, and it is not easy for many artists to breach this. While ‘Mestre’ was not a deliberate decision, the space works for me as I am attracted to unusual and anonymous places for art such that it can reach new audiences.

*In September 2013 a boat carrying migrants from North Africa attempting to reach Italy, was shipwrecked. As a result, 364 people died.

Interview in Italian by Anna Viani
Translation and interpretation by Alessandra Cianetti and Annie Jael Kwan